Death of a Salesman Arthur Miller

In the United States

Death of a Salesperson first opened on February 10, 1949, to fantastic success. Drama critic John Gassner wrote that “the ecstatic reception accorded Death of Salesperson has been reverberating for a long time any place there is an ear for theatre, and it is certainly the best American play given that A Streetcar Called Desire.” [9]

In the United Kingdom

The play reached London on July 28, 1949. London actions were blended, however primarily favorable. The Times slammed it, stating that “the strongest play of New York theatrical season ought to be transferred to London in the deadest week of the year.” Nevertheless, the general public understanding of the ideology of the play was different from that in America. Some individuals, such as Eric Keown, consider Death of a Salesperson as “a potential disaster deflected from its true course by Marxist compassions.” [9]

In Germany

The play was hailed as “the most crucial and effective night” in Hebbel-Theater in Berlin. It was said that “it was impossible to get the audience to leave the theatre” at the end of the efficiency. The Berlin production was more successful than New york city, possibly due to better interpretation. [9]

In India

Compared to Tennessee Williams and Beckett, Arthur Miller and his Death of a Salesman were less influential. Rajinder Paul stated that “Death of a Salesperson has just an indirect impact on Indian theatre practitions.” [9] However, it was translated and produced in Bengali as ‘Pheriwalar Mrityu‘ by the theater group Nandikar. Director Feroz Khan adapted the play in Hindi and English by the name “Salesperson Ramlal” played by Satish Kaushik and with the role of his kid depicted by Kishore Kadam.

In China

Death of a Salesman was welcomed in China. There, Arthur Miller directed the play himself. As Miller specified, “It depends upon the father and the mother and the kids. That’s what it’s about. The salesman part is what he does to stay alive. However he could be a peasant, he might be, whatever.” Here, the play focuses on the household relationship. It is simpler for the Chinese public to comprehend the relationship in between daddy and kid since “One thing about the play that is very Chinese is the method Willy tries to make his sons successful.” The Chinese father constantly desires his boys to be ‘dragons.’ [10]

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